Tânia Lisboa

Tânia Lisboa

Tânia Lisboa joined the RCM in September 2001 as a Research Associate in the CPS and was appointed Research Fellow in 2008. She also holds the post of Artistic Research Fellow at the Orpheus Institute in Belgium.

Following her MA in performance studies at City University London, her doctoral research at Sheffield University employed longitudinal studies with young cellists to investigate the relationship between musical understanding and a multi-modal approach to teaching and learning. Her current research focuses on the investigation of musical movement and practice strategies, with the cello as the main object of study. She is a regular contributor to international conferences, giving papers in the areas of performance, psychology of music, and music education.

Since 2003, Tânia has been the manager of the RCM's videoconferencing programme. Recent activities in this area include links with the Eastman School of Music and the Cleveland Institute of Music in the USA, as well as with universities and primary and secondary schools in the UK.

In parallel with her academic research, she pursues an active career as a solo cellist. A native of Brazil, where she also trained as a pianist, her concert engagements encompass Europe, Asia, and North and South America. In addition to the standard repertoire, she has recorded the complete works for cello and piano and all the piano trios of Villa Lobos for Meridian Records.

Email: tlisboa@rcm.ac.uk
Personal website: www.tanialisboa.com

Teaching

  • Level 2 psychology of music
  • Level 3 professional skills (instrumental teaching)

Publications

  • Chaffin R, LISBOA T, Logan T, & Begosh K (2010), Preparing for memorized cello performance: The role of performance cues, Psychology of Music, 38, 3-30.
  • Chaffin R & LISBOA T (2009), Practicing perfection: How concert soloists prepare for performance, Ictus, 9, 115-142.
  • LISBOA T & Gualda F (2009), Left-hand expression in cello playing: Exploring approaches to shifting, in A Williamon, S Pretty, & R Buck (eds.), Proceedings of the International Symposium on Performance Science 2009 (pp. 423-428), European Association of Conservatoires.
  • LISBOA T, Chaffin R, & Logan T (2009), How memory fades: Very-long-term recall of Bach, in A Williamon, S Pretty, & R Buck (eds.), Proceedings of the International Symposium on Performance Science 2009 (pp. 315-320), European Association of Conservatoires.
  • LISBOA T (2008), Action and thought in cello playing: An investigation of children's practice and performance, International Journal of Music Education, 26, 243-267.
  • LISBOA T (2008), Review of Mastering the Art of Performance by Stewart Gordon, Oxford University Press (2006), British Journal of Music Education, 25, 103-106.
  • Clark T, Williamon A, & LISBOA T (2007), The phenomenology of performance: Exploring musicians’ perceptions and experiences, in A Williamon & D Coimbra (eds.). Proceedings of the International Symposium on Performance Science 2007 (pp. 35-40), European Association of Conservatoires.
  • LISBOA T, Chaffin R, Logan T, & Begosh K (2007), Variability and automaticity in highly practiced cello performance, in A Williamon & D Coimbra (eds.). Proceedings of the International Symposium on Performance Science 2007 (pp. 161-166), European Association of Conservatoires.
  • Williamon A, Thompson S, LISBOA T, & Wiffen C (2006), Creativity, originality, and value in music performance, in I Deliège & G Wiggins (eds.), Musical Creativity: Multidisciplinary Research in Theory and Practice (pp. 161-180), Psychology Press.
  • LISBOA T, Chaffin R, & Logan C (2005), An Inquiry into the dynamics of performance: Investigating conception and attention from practice to performance on the cello, in M Dottori, B Ilari, & R Coelho de Souza (eds.), Proceedings of the International Symposium on Cognition and Musical Arts (pp. 228-236), Editora do Deartes: Curitiba, Paraná, Brazil.
  • LISBOA T, Williamon A, Woledge R, & Clarke E (2005), Mapping musical movement: The physical expression of musical individuality, in M Dottori, B Ilari, & R Coelho de Souza (eds.), Proceedings of the International Symposium on Cognition and Musical Arts (pp. 236-238), Editora do Deartes: Curitiba, Paraná, Brazil.
  • LISBOA T, Williamon A, Zicari M, & Eiholzer H (2005), Mastery through imitation: A preliminary study, Musicae Scientiae, 9, 75-110.
  • LISBOA T (2003), An overview of Villa-Lobos' compositions for the violoncello, Música Hodie, 3, 44-51.

Recordings

  • LISBOA T & Capparelli C (pianist) (2008), The Brazilian Cello, Meridian Records. 
  • LISBOA T & Braga M (pianist) (1997, second edition released in 2005), Villa-Lobos - O Violoncello do Villa: Complete Works for 'Cello and Piano (Vol. 1), Meridian Records.
  • LISBOA T, Braga M (pianist), & Zhang Y (violinist) (1998), Villa-Lobos - O Violoncello do Villa: Complete Works for Violin, 'Cello and Piano (Vol. 2), Meridian Records.
  • LISBOA T, Braga M (pianist), & Milone R (violinist) (2003), Villa-Lobos - O Violoncello do Villa: Complete Works for Violin, 'Cello and Piano (Vol. 3), Meridian Records.
  • LISBOA T & de La Pau Tortelier M (pianist) (1997), Fauré - Les Soirées Intimes: Complete Works for 'Cello and Piano, Meridian Records.
  • LISBOA T & Askin C (violinist) (1996), Octachord: Virtuoso Duos for Violin and 'Cello, Meridian Records.

 

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